Dvorák's Stabat Mater wins new friends at NAC performance: Festival Canada shows excellent production of great choral work

Dvorák's Stabat Mater is one of the great choral works of the 19th century. Unlike the Requiems of Verdi, Brahms and Fauré, though, it is not often performed. There are even seasoned lovers of choral music who are totally unfamiliar with it.

The National Arts Centre presented a fine account of the score Saturday evening as part of this year's Festival Canada. Judging from the audience response, the music made more than a few new friends.

At the centre of the effort was the eminent Czech conductor Jiri Belohlavek. His close understanding of Dvorák's idiom, along with his ability to convey it to the combined Ottawa Choral Society and Cantata Singers and to the National Arts Centre Orchestra were among the major assets of the performance.

Although there were occasional signs of strain in the choral singing, and although the sopranos occasionally receded from their full share of the choral sound, there was far more to admire than otherwise.

The orchestra played, if not flawlessly, very well indeed. There was the degree of refinement in its playing that listeners have come to respect on a good night and a bit more besides. Balances within the orchestra, as well as between the orchestra and the vocal forces, were ideal. The string sound was solid and focused, the somewhat limited solo playing was attractive and there was an air of commitment and affection to all of the playing all evening.

The four vocal soloists were excellent too.

Soprano Donna Brown, no stranger at all to local audiences, sang with her customary clarity, radiant musicality and assurance. As the high voice in the vocal quartet she largely defined its character.

Mezzo-soprano Susan Platts, at a mere 24 years of age, has a richness and a depth of expression that eludes many singers twice as old. Her biographical notes suggest that she specializes in the more serious repertoire rather than flashy operatic parts. More power to her and to those fortunate enough to hear her.

Richard Margison, though he may not sing here as often as Donna Brown, is always good to hear. He has largely made his reputation with flashy operatic parts, but he's a good concert singer as well, despite a certain rigidity of dynamic and timbre in his voice. He proved himself a fine ensemble singer too, blending perfectly with the others.

Bass Marcel Beaulieu has a more flexible voice than Margison's, and a pleasing depth and resonance too. There was little to complain of in his singing other than an occasional ambiguity of musical purpose.

Richard Todd is a freelance writer.